This article argues that in Tristram Shandy Sterne expresses his desire to be the sole owner of his literary work through images of the hand and handwriting. It explores his experimentation with the typographic manicule and his innovation in representing script in print. I suggest that Sterne represents the hand and handwriting as ambiguous markers of authenticity in order to illustrate and lament the complexities of assigning literary property in this period.

This is the first thorough examination of Enrique Chagoya's codices, an ongoing body of work begun in 1992. Conceived as pseudo-historical documents, Chagoya's codices are the most intricate and sustained articulation of his core concept of "Reverse Anthropology," in which he "cannibalizes" the art and culture of Western civilization and reinterprets it in a pre-Columbian format to explore contemporary themes. The artist's ideas have been informed by the Antropofágia movement
in Brazil and his study of pre-Columbian manuscripts and post-Conquest codices. The article traces his development of the codex format in the nineties, beginning with his first unique codex in 1992 and other formative projects, followed by a sustained discussion of the editioned works of 1999-2011.

The first edition of the 'Secreti' by Alessio Piemontese has the oldest printed recipe for intaglio printing ink, on pp. 188-189. The recipe is repeated in a number of its 266 editions, translations, reworked versions and photomechanical reprints.

Philadelphia on Stone is the first work in over fifty years to examine the history of nineteenth-century commercial lithography in Philadelphia. The capstone to the Library Company of Philadelphia’s multifaceted Philadelphia on Stone project, this heavily illustrated volume of thematic essays provides an analysis of the social, economic, and technological changes in the local trade from 1828 to 1878; biographies of premier lithographers P. S. Duval and James Queen; and new insights about genres of lithographs pertaining to book illustration, advertising, sensational news, and landscape imagery.

Illustrated with more than 130 full-color images, the text will appeal to local historians, scholars of printing history, and those studying visual and popular culture, advertising, and economic history. The depicted advertisements, cityscape and bird’s-eye views, disaster prints, and zoological illustrations document Philadelphia while showcasing the skilled work of the city’s lithographers. Philadelphia on Stone highlights the finesse and allure of the lithographic process, which radically altered the visual landscape of Philadelphia and the country.